The principle I adhere to when directing, is that I make good use of everything my staff creates. Even if they make foregrounds that don't quite fit with my backgrounds, I never waste it and try to find the best use for it.
Plants exist in the weather and light rays that surround them - waving in the wind, shimmering in the sunlight. I am always puzzling over how to draw such things.
We get strength and encouragement from watching children.
I get inspiration from my everyday life.
You should despair and run away.
I think 2-D animation disappeared from Disney because they made so many uninteresting films. They became very conservative in the way they created them. It's too bad. I thought 2-D and 3-D could coexist happily.
When a man is shooting a handgun, it's just like he is shooting because that's his job, and he has no other choice. It's no good. When a girl is shooting a handgun, it's really something.
I intend to work until the day I die. I retired from feature-length films but not from animation. Self-indulgent animation. It's nice that I have the mini-theater in the museum. Most of the museum visitors attend the mini-theater screenings and we've never had a complaint about the quality of the films. I'd like to continue to make films that leave the audience satisfied, but I also think it's pointless unless I offer them the kind of animation they can't get anywhere else. They're fun to do. They're short so it's less stressful.
Airplanes are the most beautiful when they are in the air.
The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
If you're going to retire, retire early.
I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.
When I start creating a villain, I start liking the villain and so the villain is not really evil.
Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
But remember this, Japanese boy... airplanes are not tools for war. They are not for making money. Airplanes are beautiful dreams. Engineers turn dreams into reality.
I don't intentionally make deep movies.
I myself become terrified of death when I am in a negative state of mind. But the thought of death ceases to bother me once I become productive.
I create women characters by watching the female staff at my studio. Half the staff are women.
Some people spend their lives interested only in themselves.
I try to dig deep into the well of my subconscious. At a certain moment in that process, the lid is opened and very different ideas and visions are liberated. With those I can start making a film. But maybe it's better that you don't open that lid completely, because if you release your subconscious it becomes really hard to live a social or family life.
When I say I get inspiration from my real life, I think of my real life as extending about 300 meters radius around me. So what I see in that area is what inspires me.
All my films are all my children.
I think it's really good for a family or children to have a dog, cat, bird or whatever to grow up with.
Maybe that's what these films are doing. They are my way of blessing the child
